The noughties witnessed rapid change in Action Cinema, carrying with it the new action stars of the previous decade, and the boundary blurring experimentation of films such as The Matrix, that incorporated not only action but science fiction. The now dominant Marvel Cinematic Universe (MCU) debuted, and the Young Adult fictional worlds of Harry Potter and The Hunger Games further developed the scope of the action sequences. Despite this context, the action genre had still not engaged fully with contemporary social issues. Focusing on a less acknowledged period in Action Cinema history, Gender and Action Films: Road Warriors, Bombshells and Atomic Blondes examines specific action stars such as Michelle Rodriguez, Zhang Ziyi, and Pam Grier to analyse how female stars encounter the male gaze. Split into four parts – ‘Star Bodies’, ‘Transmedia Action’, ‘Intergenerational Action’ and ‘Politics and Race’, chapter authors prioritise female led action movies and champion a more meaningful interaction and representation between the action genre and contemporary issues of race, sexuality, and gender. Offering novel interpretations of depictions of gender within action movies, this edited collection demonstrates gender portrayal can be developed to incorporate meaningful representation in the wake of the movements such as #Oscarssowhite or #MeToo that have confronted Hollywood. The collection is a must-have for academics, students and lovers of film and media and those interested in gender studies.

Willingham presents a historical survey of science fiction drama and focusses particularly on the history of attempts to stage science fiction. Little attention has been given to science fiction drama, though numerous science fiction plays exist. This volume gives special attention to works intended for adult audiences, with emphasis on the nature of science fiction drama, its origins and history, the staging of science fiction plays, and works by representative playwrights. The appendix offers an annotated list of 328 science fiction plays, with entries grouped in five categories: original drama, adaptations, musicals and operas, theatre pieces and multi-media works, and Frankenstein dramas. An extensive bibliography concludes the volume.

Encyclopedia of Jewish American Artists presents over 80 nineteenth- and twentieth-century Jewish American artists, ranging from the critically neglected Theresa Bernstein, Ruth Gikow, and Jennings Tofel, to the well-known Eva Hesse, Roy Lichtenstein, and Larry Rivers. The subject matter of some of these artists may surprise readers. Adolph Gottlieb designed and supervised the fabrication of a thirty-five foot wide, four-story high stained glass facade for a synagogue; Louise Nevelson sculpted a Holocaust memorial; and Philip Pearlstein painted a version of Moses with the Tablets of the Law early in his career. Covering painters, sculptors, printmakers, and photographers, as well as artists who engage in newer forms of visual expression such as video, conceptual, and performance art, the book is in part intended to stimulate further scholarship on these artists. When appropriate, entries reveal the influence of the Jewish American encounter on the artists' work along with other factors such as gender and the immigrant experience. In many cases, the artists' own words are employed to flesh out perspectives on their art as well as on their Jewish identity. To that end, the volume contains excerpts from recent interviews conducted by the author with some of the artists, including Judy Chicago, Audrey Flack, Jack Levine, and Sol LeWitt. Illustrations accompanying each artist's entry, some in color, aid this invaluable look at Jewish American art. Painters Sculptors BL Printmakers Photographers Sculptors Video artists Conceptual artists Performance artists

The world-weary cynicism, the acceptance of chaos, and the inevitability of the fading of romance that seem to characterize a post-holocaust generation make Keaton a favorite with today's audiences; they prefer his detached "cool" to Chaplin's often impassioned sentimentality and spirited commitment. There is no question that Keaton was an innovative filmmaker with an instinctive awareness of the unique possibilities of the camera and that he anticipated the cinematic strides of such later masters as Renoir, Welles, Antonioni, and Kubrick. Neither his content nor his structure seems dated. We can learn much from him, about the folly of pride, about the importance of persevering, and about the fact that the value of a human life is not measured by money, but by work. Experts, students, and enthusiasts will find great value in this book.

From concept stage through production in Egypt to release of the film: Katherine Orrison carefully recreates the behind-the-scenes story of Cecil B. DeMille's beloved epic.

Lee Remick's ascent as an actress was swift and distinguished. At age 24 she attained stardom in "Anatomy of a Murder" (1959), and was nominated as Best Actress three years later for her role in "Days of Wine and Roses" (1962). In the second half of her career, she found her most prolific and rewarding opportunities in television. This book chronicles her life and work in extensive detail, with entries for all her performances.

The opening biography overviews her life and discusses her illustrious career. A chronology summarizes her life and work in capsule form. The chapters that follow trace her work in various media, with individual chapters devoted to her stage, film, and television careers. Entries in each chapter provide full information for all of her performances, including cast and credit information, plot synopses, excerpts from reviews, and commentary. An extensive annotated bibliography makes this reference a detailed resource for people seeking additional information about Remick's work.

This bio-bibliography focuses on the life and career of Jennifer Jones, reexamining her as a uniquely talented actress rather than as the wife and protegd'e of David O. Selznick. a superior reference work. A concise biography is followed by a chronology, a filmography, a listing of radio, theatre and television credits, a list of awards and nominations, and an annotated bibliography. Classic Images This bio-bibliography focuses on the life and career of Jennifer Jones, an actress as well known for her marriage to David O. Selznick as she is for her performances. As a research tool for those interested in an academic study and reevaluation of her career, however, this work looks at Jones not as the wife and protegee of Selznick but as an individual with a unique and accomplished acting style. In surveying the history of the relationship with Selznick, and covering the 23 feature films and one serial appearance that make up the career of Jennifer Jones, Jeffrey Carrier has separated the performances from the Selznick influence and discovered a talent that is often surprising. The book provides a complete view of the professional life of Jennifer Jones, from her earliest screen appearance in 1939 to her current activities with charitable organizations. It is comprised of seven major sections: a detailed biography; a chronology that summarizes the highlights of her life; a complete filmography that includes casts and credits, synopses, release dates, running times, selected reviews, and sources for study; a listing of radio, theater, and television appearances; awards and nominations; an annotated bibliography; and a complete cross-referenced index. An accompanying appendix contains the New York Times obituaries for Robert Walker and David O. Selznick. This important attempt to reexamine the career of Jennifer Jones will be a valuable reference source for courses in film history and for film fans and scholars, as well as a notable addition to both academic and public libraries.

The initial portion of this book is a chronological narrative of theatre construction in Philadelphia, from the first known theatre in 1724 to the present day. Following it is the main annotated listing of over eight hundred theatres, arranged alphabetically by theatre name. Other names used by the theatre are indicated and cross references are provided as necessary. Standard data for each theatre includes, as available, the address of the building, the seating capacity, and the architect. For most theatres, an architectural description of the exterior and interior is given along with information on dates of construction, renovations, and openings. In addition, the theatre's policy, importance, and distinctions are explained. This is followed by a brief description of, and a map which graphically depicts, the concentration of theatres in the center of Philadelphia, the original city laid out by William Penn. This section also includes a list of the one hundred forty-seven theatres constructed there, with addresses and grid locations. Another section entitled "Architects and Buildings" provides information about the dates the theatres opened, when alterations were made, and when available, the life dates of the architects. A glossary of architectural and theatrical terms completes the volume.

The influence of science fiction writer H. P. Lovecraft is widely felt in modern literature; authors from Robert E. Howard to Stephen King can claim him as their ancestor. But cinema too has seen Lovecraft's impact, and author Charles Mitchell offers here a comprehensive guide to the dozens of films that are representative of this influence. Mitchell studies the films in detail, analyzing the major Lovecraft elements and examining the fidelity of the films to the original works. Amateur films as well as television productions and foreign cinema, are included in Mitchell's scrutiny, revealing the challenge of transcribing Lovecraft to the screen, while at the same time suggesting the potential of Lovecraft's work for future, quality screen adaptations.

In addition to plot summaries, entries for each film include annotated cast lists, critiques of actors' performances, the degree of fidelity to Lovecraft, and representative quotes from each film. This thorough work will be of interest to students of cinema as well as modern literature.

In this first ever collection of Sakha poems in our English language, the highly talented poet Natalia Kharlampieva weaves openly neo-Impressionistic threads of common heritage, communal faith and shared ethnicity, into an overall tapestry of cultural optimism. Indeed, to Kharlampieva's mind, the unique significance played by independent women (willing to endure every hardship) in these restorative endeavours clearly signals the spiritual strength of Central Asia. A lesson, moreover, she obliquely suggests the West itself still needs to learn. Of course, in Kharlampieva's case, these powerful declamations are set against the grinding impact of icy expanses on Sakha psyches. And as such, Kharlampieva invites the readers of Foremother Asia into a hardy, but delicate world: a narratorial sphere characterised by the need to survive against all odds. Indeed, once her reader's grasp that the capital city of the Sakha Republic is located a mere 450 kilometres south of the Arctic Circle, they will begin to accept the insights of this crisp and original volume as a singular contribution to Global Text. Unanimously applauded as an impassioned book revealing the delights of a recovered national identity, Kharlampieva also captures Natures savage beauty, as well as the harsh existential truths of life in the far North. QUOTES: While in Yakutia, a local legend mesmerized me: afiery Viking warrior sailed up the Lena river to the land of permafrost and melted the heart of an indigenous woman. Their child was the first Yakut; her voice echoes through the ages in Foremother Asia, leaving no one untouched. S lvi Fannar Vi arsson, actor, poet, author of A Poet Trapped in a Caveman's Body and Quis Custodiet Ipsos Custodes? Iceland "Whether she writes about love, about friendship, about the fate of her people, or of the entirety of Russia, her words (as if in her hands), hold life. She saves it from a lack of spirituality, hatred, disintegration and chaos, as well as self-destruction ... Happy and rich is the ethnic group that has such people." Sergei Glovyuk, member of the Union of Writers of Russia, Honorable Member of the Union of Writers of Macedonia, Serbia, and Montenegro Poems by Natalia Kharlampieva are like a fine rain falling onto the ground, whereon it becomes water giving life to germinating seeds of kindness, forgiveness, understanding and love ..... "in any country, in any century ..." Lenifer Mambetova, Poet and winner of the best female work OEBF-2014 Republic of Crimea

Frank Bank's story is a sometimes wild, sometimes bawdy, often poignant, always funny account of a real-life Louie Louie who led a nation to California-dreamin'.

This study chronicles the American adaptation of the theory and practice of the French acting, singing, and aesthetics teacher, Francois Delsarte. Delsartism was introduced in the United States by Steele Mackaye, Delsarte's only American student. American Delsartism, with its emphasis on physical culture and expression, differed significantly from Delsarte's works in France. The system evolved from professional training for actors and orators to a means of physical culture and expression that became popular among middle and upper class American women and girls. It allowed nineteenth-century women to pay attention to their bodies, to explore their own physicality, and to perform in a socially acceptable venues. In its later manifestations, Delsartism influenced the innovative dance of such artists as Isadora Duncan, Ruth St. Denis, and Ted Shawn. Biographical information on the most notable figures in the development of American Delsartism is presented along with a discussion of the spread of Delsartism throughout the United States and to Germany. The Delsartean approach to training and expression is traced from Delsarte and Mackaye through the theory, teaching, and performance of Genevieve Stebbins, the most notable American proponent of the system.

This work will appeal to scholars of dance history and of late nineteenth-century women's studies. Theater historians will appreciate the detailed account of the system as developed and taught by Steele Mackaye as training for actors. Although Delsartism has been acknowledged as relevant to the history of modern dance, scant information and research has previously been published which explores the movement in depth and discusses its importance to women's physical and cultural education in nineteenth-century America. Photographs illustrate the text and an extensive bibliography serves as a useful guide for further research.

During the course of 2020, artist Charlotte Verity made more than 100 watercolour monotypes in response to the plants and flowers growing in her London garden. Echoing Green: The Printed Year is the result of a year’s fierce observation of urban nature. Week by week, through a painter's eye we watch the seasons unfold through technical experimentation, colour and format. Verity’s poetic images are contemplative and spacious, surprising us with their luminosity and intensity of colour. They insist on the enjoyment to be found in simply taking the time to look.

Robert Mitchum's bad boy reputation that colors his public profile has been both earned and undeserved. Jerry Roberts discusses the actor's career, his cult status, his under-appreciated talent, his forgotten films, and his nonchalance.This book catalogues previously published information on Mitchum, taking a full measure of the actor and describing the events that occasionally brought him more notoriety than his movies. The book's biographical essay and annotated filmography scrutinize his performing style. Many yarns about Mitchum have been repeated and modified into legend. But much of the Mitchum myth has been just that: myth. The final word here on various rumors and stories comes from the confirmations, clarifications and corrections made by Robert Mitchum during an interview with the author and in correspondence with several members of the Mitchum family. As with the other Bio-Bibliographies in the Performing Arts, this biographical essay is followed by a chronology, annotated filmography, television, stage, recording and writing credits, list of awards, annotated bibliography listing 1,300 entries and a comprehensive index.

This lively volume contains 19 interviews with women art critics and gallery dealers which cover their impact on contemporary art. The subjects include those women who have been among the most influential in the art world from the end of World War II to the present, such as Paula Cooper, the first to open a SoHo gallery; Emily Grenauer, the only person to have received a Pulitzer Prize in art criticism; and Ileana Sonnabend, who, together with her husband at at the time, Leo Castelli, discovered Robert Rauschenberg and Andy Warhol and the entire Pop movement.

The films of Pedro Almodovar have demonstrated great crossover appeal in their ability to attract both mainstream and marginal audiences and to command critical as well as commercial success. The contributors to this anthology of critical essays seek, through close readings of the director's 10 feature films, to analyze the multiple contexts of Almodovar's phenomenal international success. This volume offers a corrective to the glib approaches that have dominated previous discussions of Almodovar's films, which have treated them, on the one hand, as simply the latest contribution to the travel poster image of passionate, romantic Spain, or, on the other, as historical joyrides through the global pop culture scene. As the first comprehensive study of Almodovar's cinema to be published in North America, the book is also noteworthy for the range of critical and theoretical methodologies that the contributors bring to the study of his works. Drawing upon disciplines that run from psychoanalysis, feminism, queer theory, film and media studies, and cultural theory to the empirical study of audience response, the authors nevertheless share a concern to illuminate the specifically Spanish context of the director's films. While this volume serves the important function of introducing American audiences to post-Franco Spanish culture, it also pursues the complementary goal of projecting contemporary Spain into the critical debate on the forms and functioning of postmodern culture and society.